Review: OLIVER! at Theatre Off Jackson

Oliver! has always been a tale of survival, of the brutal systems that devour the vulnerable, and of the strange and tender communities that spring up in their margins. With Lionel Bart's reframing of Oliver!, now on stage at Theatre Off Jackson, Reboot Theatre Company takes a sharp left turn into 1970s London—a city battered by austerity, riots, and the pounding heartbeat of the punk movement. This isn’t your grandma’s Oliver!.

Reboot’s signature is subversion, and under the direction of Scot Charles Anderson, this Oliver! is loud, fast, funny, and, at times, disorienting. Think mohawks, threadbare plaid pants covered in safety pins, and Thatcher-era malaise with your workhouse gruel. The show’s aesthetic leans hard into the rawness of Dickens’ story—because, let’s be honest, this is a musical about famine, child exploitation, domestic violence, and murder that somehow became family fare. It’s a world begging for reinvention, even if not every stylistic swing hits the mark.

Musically, the show is in very good hands. If you’re going to give Oliver! a punk makeover, the music had better bring it. This show does. Both the vocals throughout and the orchestra pack a punch, and the music is easily the highlight of this production There are moments when the classic score flirts with punk stylings (a few songs feel like covers that could play in the back of a Camden dive bar), but the aesthetic doesn’t permeate the entire musical landscape. That said, if you're a fan of Oliver!, this isn't a bad thing. It's simultaneously familiar and fresh.

Alegra Batara’s Nancy is both fiery and raw. Their “As Long As He Needs Me” delivered like a lonely ballad on the stage, vis-a-vis Liza Minelli’s “Maybe This Time” in Cabaret. Meanwhile, Jasmine Joshua’s Fagin tears down the house with “Reviewing the Situation”—a gleeful, ironic anthem that crackles with charisma and a fresh take on the role that historically leaned into ugly Jewish stereotypes. Tommy Beale’s Artful Dodger lives up to his name, with a slick, charming performance complete with acrobatic flair that feels the right amount of showy, just perfectly in character. Steven Rigaux’s Bill Sikes is terrifying in all the right ways—dangerous, magnetic, cruel. The ensemble’s obsession with him adds a compelling layer of complexity to Nancy’s tragic loyalty. Shoutout to Marnie Wingett as Dr. Grimwig! From the moment she struts onstage with that absurd Waluigi mustache, the audience is hers. But it’s not just the visual gag: her delivery is as sharp as her stache is ridiculous, making for some of the funniest moments in the show. As Oliver himself, Ankit Madhira holds his own in a sea of powerhouse performers. His vocals aren’t as strong as his castmates', but his presence as a scrappy, wide-eyed punk kid fits the bill.

Thematically, the punk backdrop works best when it channels the chaos and desperation of Dickens’ London. At its best, the show draws striking parallels between marginalized Victorian street urchins and the alienated youth of '70s Britain. At its murkiest, though, the symbolism gets fuzzy. Is Mrs. Bedwin (played sweetly by Janette LeGault) meant to be a punk nanny? Is the cast playing children, or metaphorical children, or… just adults in fishnets and plaid? These stylistic ambiguities might leave some audience members scratching their heads.

Still, there’s so much joy and energy here, it’s hard to stay confused for long. Choreography by Annalisa Brunchmann is high-octane and clean—every ensemble number delivers with plenty of kineticism. This choreo is tight! A the set design smartly supports the world-building: a floor splashed with a Union Jack, and walls plastered in posters and graffiti that look ripped from a Sex Pistols zine. It’s immersive, effective, and doesn’t feel overdesigned.

There are a few clunky moments of pantomime (a spray-painting gag early on misfires when Oliver mimes painting over a name that’s already there), and some tonal inconsistency when physical comedy bumps up against truly dark moments like domestic abuse. But to the show’s credit, those darker elements aren’t sugar-coated. Reboot’s Oliver! Is gutsy, committed, and packed with vocal performances that more than earn your attention. Tucked away in the intimate Theatre Off Jackson, this production is a surprising gem—bursting with high-caliber musical talent that far exceeds what you’d expect from such a small space. It’s the kind of show that reminds you why small-stage theater can leave such a big impression. For fans of Oliver! craving something a bit punchier, this one’s well worth a watch.

Grade: B+

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